Czerny Op 740 #45, 5 Versions
The passionate rush of this gorgeously Mendelssohnian song without words makes it great Chaines and Pas de Couru music. You might even try it for a weighty port de bras or Adagio (one count to the bar). Or a teacher may be inspired by your playing to create something specially for it.
There’s a problem with the phrasing. You may hear the RH of m 1 as the melody starting on the second beat (I do), or you may hear the RH as a long anacrusis to m 2. But with m 8 the three-beat anacrusis is unambiguous, and becomes regularized for the next 15 bars giving the phrasing powerful downbeats and propulsion to the turnaround at m 24. But the turnaround is a measure too early for a ballet class combination in phrases of 8, and because that turnaround doesn’t sound early you can’t just tack on a bar at m 23; you have to find a place earlier to insert the needed bar. There are of course many solutions to this problem, and in each of my arrangements I’ve tried out a different one.
A small detail: my arrangements of #45 all have an A section consisting of Czerny’s opening phrase, mm 1-8, and this A section is recapitulated to conclude each arrangement. For these final statements of the opening phrase I reharmonized Czerny’s mm 5-6 to give the ear a better sense of coming to a final cadence: vi6 - vi6 / I - IV
Op 740 #45 1st Version: short, passionate Song Witghout Words, 8 sets of 8
This is my performance of a one-pager arrangement of #45 squared-off for a simple ternary form piece. My solution to the too-early-turnaround problem is to eliminate mm 17-23 altogether and repeat mm 9-16. To smooth things out, I reharmonize the first iteration of m 16 as I - V in Eb, and the second as Eb - Eb7 moving back into Ab.
Generally my approach to Czerny’s strongly melodic studies like #45 is to abstract the melody and bass line in a preliminary sketch to see what sorts of arrangements suggest themselves. From such a preliminary sketch I fashioned the rest of my versions of #45.
Op 740 #45 2nd Version: 6/8 Adagio, 8 sets of 8
This is my performance of my 1st Version of #45 recast as a conventional melody-with-arpeggio-accompaniment Adagio, for which I provide a score. My solution to the early turnaround problem is to introduce a full cadence of the melody at m 20 to halt the long anacruses, then repeat m 21 and make mm 22-23 four beats of V7. As with my 1st Version I reharmonized the ending of the recapitulation.
Once you’ve put Czerny’s melody in 6/8 or 3/4 #45 can be turned into different waltzes at different speeds, with the LH doing duty keeping the hamony and rhythm going.
Op 740 #45 3rd Version: extended 6/8 waltz, 28 sets of 8
This is my performance of my 2nd Version of #45 recast as an extended waltz for centre. I provide the basic score without the repeats I’ve taken in my performance. My strategy for extending this piece was to square off sections and repeat them as in a waltz chain. I went beyond my one-pager, using some of Czerny’s later material to fashion a coda. My solution to the early turnaround problem is to make m 20 a full cadence without the anacrusis, and then repeat it with the anacrusis sounding like a new phrase starting on the third beat.
The 4/4 meter and steady quarter-note melody readily allow #45 to be recast as a march. Basically, you use the RH for the melody (as with the simple Adagio version) and the LH for an accompaniment in 8th notes. At Czerny’s metronome marking the march version makes an exciting coda, though the LH will be called on to do the heavy-lifting keeping the drive, rhythm and volume going from beginning to end.
Op 740 #45 4th Version: coda, 36 sets of 8
For my coda version of #45 I used DAW software to create a splashy “idealization.” The opening on the weak beat gives the music the same headlong character as the the coda to Swan Lake Act I Pas de Trois, and I quote Tchaikovsky’s coda-to-the-coda in my own coda-to-the-coda.
Op 740 #45 5th Version: little 4/4 contrapuntal study, 8 sets of 8
This is my performance of a short 3-voice study I arranged from the basic melody and bass lines of mm 1-16. The inner, second voice is freely adapted from Czerny’s harmony. I supply a score.